Skeet On Mischa
Dear Movie Studio Security Guards: 
If you see the man with the beard come within 100 yards of your place of business, please call the cops immediately and have him arrested. His name is John Moore and he’s committed numerous crimes against cinema. His most recent cinematic crime was A Good Day to Die Hard. Moore should be locked up for ever and ever and ever, then that cell should be covered in cement, then placed in a shipping container that will be buried in the frozen tundras of Antarctica. 
Sure, Moore might have his fans within the studio system because he probably brings his films in on time and on budget, but his films are soulless, hallow imitations of better films that were mostly likely over budget and not completed on time by cinematic geniuses. Moore wanted to copy the mad genius of Paul Greengrass, specifically his film, The Bourne Supremacy. However, one can not replicate Greengrass’s Bourne visual style when they shoot the film in a 1:85:1 aspect ratio! A cramped box that can barely contain Bruce Willis’ face in a close up can not effective convey what exactly is happening in a car chase or the climatic action sequence. Imagine watching a movie on your phone then zooming in and out of the video image. It gets all blurry and pixely and you do not understand what exactly is going on. That’s how John Moore creates an action sequence. 
Yes, in a post Vine app world, the audience has an incredible short attention span. However that attention span can watch a shot for at least six seconds. Six Seconds. Do you know what that means? A film could potentially have an ASL of 4 - 5 seconds. How cool is that? How crazy is that?
This might be me giving John Moore more credit than he deserves, but part of me believes that he choses to use the 1:85 aspect ratio because it leds its self better to the post theatrical film than say a film shot in 2:1 or higher. When the dude who just bought a 60” Vizo TV isn’t going to have to deal with those lame black bars at the top and bottom of his bitchin’ HDTV when he throws in A Good Day to Die Hard to demonstrate the full power of his home theater. 
Yes, Walter Hill uses 1:85:1, but he’s fucking Walter Hill and the dude lets shit hang out and allows the audience to figure out what’s going on within the frame. 
So, Studio Security Guards, do not let him on the lot. Save Cinema, report him to the police immediately. 

Dear Movie Studio Security Guards: 

If you see the man with the beard come within 100 yards of your place of business, please call the cops immediately and have him arrested. His name is John Moore and he’s committed numerous crimes against cinema. His most recent cinematic crime was A Good Day to Die Hard. Moore should be locked up for ever and ever and ever, then that cell should be covered in cement, then placed in a shipping container that will be buried in the frozen tundras of Antarctica. 

Sure, Moore might have his fans within the studio system because he probably brings his films in on time and on budget, but his films are soulless, hallow imitations of better films that were mostly likely over budget and not completed on time by cinematic geniuses. Moore wanted to copy the mad genius of Paul Greengrass, specifically his film, The Bourne Supremacy. However, one can not replicate Greengrass’s Bourne visual style when they shoot the film in a 1:85:1 aspect ratio! A cramped box that can barely contain Bruce Willis’ face in a close up can not effective convey what exactly is happening in a car chase or the climatic action sequence. Imagine watching a movie on your phone then zooming in and out of the video image. It gets all blurry and pixely and you do not understand what exactly is going on. That’s how John Moore creates an action sequence. 

Yes, in a post Vine app world, the audience has an incredible short attention span. However that attention span can watch a shot for at least six seconds. Six Seconds. Do you know what that means? A film could potentially have an ASL of 4 - 5 seconds. How cool is that? How crazy is that?

This might be me giving John Moore more credit than he deserves, but part of me believes that he choses to use the 1:85 aspect ratio because it leds its self better to the post theatrical film than say a film shot in 2:1 or higher. When the dude who just bought a 60” Vizo TV isn’t going to have to deal with those lame black bars at the top and bottom of his bitchin’ HDTV when he throws in A Good Day to Die Hard to demonstrate the full power of his home theater. 

Yes, Walter Hill uses 1:85:1, but he’s fucking Walter Hill and the dude lets shit hang out and allows the audience to figure out what’s going on within the frame. 

So, Studio Security Guards, do not let him on the lot. Save Cinema, report him to the police immediately. 

  1. skeetonmischa posted this